Manto, by Indian filmmaker Nandita Das, has not made the cut. At least when it comes to this side of the border. And the Central Board of Film Censors (CBFS) is to blame. Due to what it describes as scenes of an explicit nature as well as an anti-Partition narrative. Of course, as many have already pointed out: the former could easily be dealt with by tactful editing. This would have left the film’s director, Ms Das, with the choice of screening a censored version or not at all. Yet as things currently stand, the CBFS took issue with its very premise. Even though such things remain entirely subjective in nature. Information Minister Fawad Chaudhry, for his part, has promised to have a quiet word with the good folk at the CBFS. Though one has to wonder what he may have to do to persuade them to lift the Manto ban. Not least because the censors effectively report to him. All of which only serves to underscore how here in twenty-first century Pakistan — the tenets of free speech are under attack more than ever. This is something that representatives of the fourth estate and civil society know a thing or two about. Yet the case of Manto raises the important question as to whether or not art transcends traditional cultural norms and taboos. Which, of course, is another way of suggesting that the latter cannot fall victim to such wilful myopia. Be that as it may, the banning of the film has simply strengthened the natural bonds between the people of Islamabad and New Delhi. For as Ms Das was quick to point out: Manto has resulted in Pakistani writers, activists and journalists coming together to implore their government to show an Indian film. This is poetic symmetry by another name. The very essence of Sadaat Hasan Manto himself. * Published in Daily Times, December 19th2018.